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A side-by-side Italian and English edition of the libretto. Famously first performed in Egypt in 1871, Aida, an Ethiopian princess, has been enslaved in Egypt. Her father has invaded Egypt in order to free her but he is defeated. A love triangle develops between Aida, a young warrior Rhadames, and Amneris, the Egyptian king’s daughter. Aida and the persecuted Rhadames choose death together rather than be separated.

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INTRODUCTION

VERDI’S “Aïda” has come to be the most popular of his operas in this country and one of the most loved of all Italian lyric dramas. The gorgeousness of the coloring in its oriental pictures, the kaleidoscopic succession of brilliant scenes, the ballets, processions, the glitter of court life and “the pomp, the pride, the circumstance of war” unite with its music to make it an opera for the people as well as for the more conservative connoisseur. The fluent melody of its score appeals to popular taste, while the technical skill shown in the arrangement of its general plan and the harmonious disposition of all its details arouse the admiration of the most critical observer.

This story is well suited to operatic treatment Edition: current; Page: [[vi]] and the history of the conception and development of the work is interesting. The action of the opera takes place in Memphis and Thebes, Egypt, in the days of the Pharaohs. The drama begins in the palace at Memphis. Ramphis, the high priest, informs Rhadames that the Ethiopians have arisen against Egypt and that Isis has selected the commander of the defending force. When the Priest has finished, Rhadames declares that he would gladly go forth to conquer, could he but return to Aïda, the slave of the King’s daughter, Amneris. Aïda and Amneris come upon the scene, and we learn that the princess suspects the existence of the passion between the other two and is jealous. She determines to have revenge if she finds that she is right in her surmise. The court assembles and the King receives a messenger, who announces that Amonasro is leading the Ethiopians. The King announces Rhadames as his General and Amneris gives him a banner. Only Aïda knows that Amonasro is her father, and when all the others have gone, she remains to pray to her gods for pity.

The next scene shows us Rhadames in the temple Edition: current; Page: [[vii]] receiving his consecrated sword from the hands of Ramphis, the Priest, while the ceremonials of adoration proceed. With the beginning of the second act the incidents are transferred to Thebes. The war is over and the army is about to return. Amneris reclines in her apartment and grieves over the absence of Rhadames. When Aïda enters, Amneris, seeking to probe her heart, tells her that Rhadames is dead. Aida reveals her love and Amneris breathes vengeance.

The second scene takes place in the great square. Rhadames returns triumphant, bringing several Ethiopian prisoners. One is Amonasro, but the conquerors do not know that he is the King. When Rhadames learns that Amonasro is Aida’s father, he joins others in begging for his life. The King, after listening to the advice of the Priest, releases all save Amonasro, who is condemned to remain in slavery with his daughter. The King then precipitates the tragedy of the opera by giving the hand of Amneris to Rhadames in recognition of his great national services.

The third act is in one scene and takes place on Edition: current; Page: [[viii]] the banks of the Nile. Amneris enters the temple of Isis to pray on the eve of her marriage. Aïda comes to keep an appointment with Rhadames and bewails her expatriation. Amonasro enters and commands her to use her power over Rhadames to make him disclose the Egyptian plans. She refuses, but in a stormy duet her father overpowers her reluctance. He retires and Rhadames enters. Aïda wooes him to flight and consenting he reveals the Egyptian plans. Amonasro now comes forward, and, saying that he has heard the secret, informs Rhadames that he is the King. Amneris comes from the temple just in time to overhear some of this. Amonasro attempts to stab her, but is prevented by Rhadames, who sends Aïda and her father away, while he remains to surrender himself to the Priest.

The fourth act has two scenes. The first takes place in a room adjoining that in which Rhadames is to be tried. When he is brought on at the request of Amneris, she begs him to give up Aïda so that she herself may save him. He refuses. She says that Amonasro has been slain and that AïdaEdition: current; Page: [[ix]] has fled, but he repulses her. She now falls into despair over the outcome of her own actions. Rhadames is tried by the Priests and condemned to be buried alive. As the Priests pass out with their prisoner Amneris curses them.

The second scene shows us the vault under the temple and also the temple above it. Rhadames, shut in the vault, prays for Aida, but she has succeeded in gaining admittance to the tomb in order that she may share his fate. They sing out their lives in the suffocating place, while above them the priestesses of the temple chant and Amneris kneels in grief on the stone which seals the tomb.

This admirable operatic story was utilized by the composer in a work which astounded the entire world by its revelation of unexpected qualities of his genius and which revolutionized modern Italian opera. Giuseppe Verdi was born at the village of Roncole, near Busseto, Italy, on Oct. 9, 1813. It was the year in which Wagner was born, and these two men were destined to reform the whole method of operatic composition in the later years of the nineteenth century. Verdi received some Edition: current; Page: [[x]] instruction from local musicians and finally in 1831 applied for admission to the conservatory at Milan, but the director rejected him on the ground that he had no talent for music. So he studied privately in the Lombardy metropolis and later went back to Busseto as organist and conductor of the local musical society.

In 1838, with a wife and two children, he went to Milan with an opera, and Merelli, director of La Scala, produced it. Then he commissioned Verdi to write more operas. The first, a comic opera, had to be finished just when the composer had lost his wife and children. Small wonder that it was a failure. Verdi wished to abandon composition, but Merelli persuaded him to go on, and he wrote his “Nabucco,” which was applauded at La Scala on March 9, 1842. Other compositions followed, but Verdi’s first general success was “Ernani,” brought out in 1844 and performed in 15 places within nine months.

Several operas of no striking force, and now forgotten, except for occasional revivals in Italy, were now written by Verdi, and then he suddenly Edition: current; Page: [[xi]] seemed to find himself, for in 1851 he wrote “Rigoletto” in 40 days, and this popular work was followed by “Il Trovatore,” first sung in Rome, Jan. 19, 1853, and “La Traviata,” produced in Venice, March 6, of the same year. These operas raised Verdi at once to the position of the foremost living composer of Italian opera, and if he had never produced anything else, they would have ensured for him a place beside such masters as Donizetti and Bellini and perhaps even Rossini.

These works are classed by commentators as belonging to the second period of Verdi’s artistic development, which is characterized by tremendous vigor and a remarkable melodic fecundity, together with certain rather indefinite powers of characterization. But the Verdi of clear-cut characterization and keen psychological insight was not disclosed till later.

For eighteen years he continued from time to time to put forth new works, but none of them made any lasting impression. “Un Ballo in Maschera” (Rome, Feb. 17, 1859) is sometimes given outside of Italy, but its silly libretto is inimical to Edition: current; Page: [[xii]] its wide acceptance. “La Forza del Destino” (St. Petersburg, Nov. 10, 1862) is mentioned with bated breath by some opera-goers of the older generation, but it has been permitted to repose in silence in this country since its revival by Mapleson at the Academy of Music many years ago.

In this last opera, however, the student can discern the beginnings of a transition. Verdi’s instrumentation had been cheap, and for the most part vulgar and noisy. It was generally no more than a dynamic development of the “big guitar,” into which Donizetti had made the orchestra. Those who listened attentively to the instrumental portions of “Il Trovatore” and “Rigoletto” will readily understand what is meant by this. But in “La Forza del Destino” one finds sudden displays of real skill in the use of orchestral color for the purposes of dramatic delineation. The infrequent hints at progress toward finesse in the handling of instruments here became almost promises, and yet no one was prepared for the striking advance revealed in the score of “Aida” in 1871.

This opera marked the entrance of Verdi upon Edition: current; Page: [[xiii]] a new phase of his artistic career. It instantly set him apart from all other Italian composers. It made him the father of the contemporaneous school of “young Italians” from Mascagni to Puccini. None of them have added anything to the materials or methods applied to the constitution of Italian opera by Verdi in his “Aida.”

This opera was followed by the famous Manzoni Requiem, produced in 1874. In 1887 at Milan on Feb. 5 was given for the first time his next opera, “Otello” and again connoisseurs all over the world learned that this wonderful old man was making progress in his art. But he was to amaze the world yet once more, for in 1893, at the age of 80, he produced his comic opera “Falstaff,” which has been awarded a place beside Mozart’s “Marriage of Figaro” and Wagner’s “Die Meistersinger.” This stupendous tour de force was his last, for thereafter he wrote only some religious music (very noble music, too), but turned his face away from the glitter of the theatre. He lived in the seclusion of his Villa St. Agata at Busseto and there he passed away on Jan. 27, 1901.

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Let us now bestow a little more particular attention on the circumstances in which “Aïda” was created, first performed and accepted by the world as a masterpiece. Ismail Pacha, khedive of Egypt, a man of picturesque personality and brilliant ambition, ardently desired to be known as a leader in the polite world of European aristocracy. Among other enterprises looking to the accomplishment of his aim, he undertook the building of the opera house at Cairo. It was opened with much ceremony in 1869. But Ismail Pacha was not satisfied. What his opera house needed to make it celebrated throughout the world was a new opera on an Egyptian subject, expressly composed for this theatre by the most celebrated living master. An emissary was despatched to Verdi, who did not regard the proposition with favor. Not wishing to affront a potentate by a direct refusal, he named a price of such size that he was certain the Khedive would be frightened off, but Ismail accepted the terms without hesitation. Then Verdi began to contemplate his task, and as the possibilities of splendid musical color offered by an Egyptian subject opened Edition: current; Page: [[xv]] before his mind, he became enamored of the idea and entered into the project with enthusiasm.

Mariette Bey, a distinguished Egyptologist, was requested by the Khedive to find a suitable story. He did find an incident in the ancient history of the country and from it he planned the groundwork of the libretto of the opera. Camille du Locle, a Parisian, wrote out the lyrics and the dialogue in French prose. He worked at Busseto by the side of Verdi, who was thus enabled to bring to the new work his long experience in the construction of operas. The arrangement of the last scene with the double stage showing the temple and the vault under it was entirely the design of the composer. Signor A. Ghislanzoni translated the prose of du Locle into Italian and at the same time turned it into verse, suitable for musical setting. This Italian verse was afterward retranslated into French verse for Parisian performances.

Verdi began his labors with vigor and his opera was completed within the allotted time. The Khedive had offered him $20,000 for the work, and $10,000 more if he would go to Egypt to conduct Edition: current; Page: [[xvi]] the first performance. Verdi intended to do so, but when the time arrived he refused. The great master had a mortal fear of seasickness. The opera was to have been produced in 1870, but the scenery had been painted in Paris, and when the Franco-Prussian War broke out, it could not be taken out of the city. Verdi occupied himself with alterations and improvements in his opera. For one thing he eliminated a chorus in the style of his famous predecessor Palestrina, for whom all his life he had a profound admiration and of whose music he was a continual student. But he felt that the Italian ecclesiastic style was not quite suitable to the priesthood of Isis.

It was on Dec. 24, 1871, that this beautiful work was first heard. The celebrated double bass player, Bottesini, was the conductor and the cast was this: Aïda, Signora Pozzoni; Amneris, Signora Grossi; Rhadames, Signor Mongini; Amonasro, Signor Steller; Ramphis, Signor Medini; the King, Signor Costa; a Messenger, Signor Bottardi. The first performance in New York took place on Nov. 26, 1873, at the Academy of Music. The cast was as Edition: current; Page: [[xvii]] follows: Aïda, Ottavia Torriani; Amneris, Annie Louise Cary; Rhadames, Italo Campanini; Amonasro, Victor Maurel; Ramphis, Nannetti, and King, Scolara. Previous to this the opera had been produced in Milan, Paris and London. It went through the musical world with great rapidity and it has preserved its early vitality in a marked degree.

Verdi was charged with submitting himself in this opera to the influence of Wagner, but the work is built on purely Italian lines. The composer did not adopt Wagner’s system of representative themes, his continuous melody, nor his type of harmony. The score of “Aïda” consists of a series of complete musical numbers, just as “Il Trovatore” or “La Traviata” does, but these numbers are artistically joined in such a way that each act produces an effect of perfect continuity. There are arias preceded by recitatives, just as there were in the days of Handel, and some of these arias have the “da capo,” or return to the first part, which was inseparable from the vocal numbers of the eighteenth century. But Verdi’s recitative is so varied, so little Edition: current; Page: [[xviii]] touched by the old styles, and so closely allied to the melodic character of the airs, that it must be classed with that fluent and declamatory recitation which constitutes the major part of a Wagner drama. Verdi’s recitative, however, is just as characteristically Italian as Wagner’s is German.

Without question it was in this triumphant demonstration of the splendid dramatic possibilities of the old Italian forms in opera that Verdi showed himself to be the leader of lyric art in his country and a teacher for all the rest of the world. The ready manner in which Leoncavallo and Mascagni adopted the entire apparatus of Verdi, contributing to opera only the novelty of condensation into one act, shows what a powerful influence he had on his compatriots. Puccini in most of his operas has faithfully followed the methods of Verdi, while in certain others, “Tosca” and “The Girl of the Golden West,” he has endeavored to combine with the Verdian apparatus the representative themes of Wagner.

In composing “Aïda” Verdi threw overboard the worn-out materials of his earlier style. One Edition: current; Page: [[xix]] hears no more the simple elementary dance rhythms upon which so many of his former airs rested. Compare the style of “Ah, fors e lui,” with “O patria mia,” or that of “Il Balen” with the appeal of Amonasro in the third act. In abandoning these old dance rhythms the master also discontinued the employment of the primitive scheme of harmony so familiar in the older Italian operas. He sought to impart to his music a great depth of expression by the use of the rich variety of chord successions which had come into modern music.

It was in this department of his art that Verdi made one of his greatest strides and by it excited astonishment not only in Italy, but throughout the artistic world. Those who had never before regarded him as anything better than an unusually clever Italian opera writer now began to suspect that they were confronted by a profound master of music. Opera-goers who are well acquainted with the older works of Verdi must have noted the splendor of the harmonies in “Aïda” as compared with those of its predecessors. Doubtless many hearers attribute this harmonic richness to the opulence Edition: current; Page: [[xx]] of the orchestration, but musicians will readily understand that the latter owes more to the former than vice versa.

The instrumentation of “Aïda” is indeed an immense advance over that of the same composer’s previous creations. The employment of delineative devices is liberal and the introduction of what are known as color effects is frequent. Naturally Verdi endeavored to create something which would strike his hearers as an imitation of Egyptian color and this had to be done in two or three ways. First and foremost it was open to the composer to sprinkle his score with ancient themes. But he preferred to make his own and to give them the necessary character.

This he could do by imitating oriental melodic sequences, and rhythms. As for the eastern rhythms we may dismiss these as of little importance in an operatic score such as that under consideration. The melodic sequences, however, are worthy of a passing note because Verdi has utilized them and with excellent effect. Not all of them are strictly Egyptian, but they are of kinds not found in western European Edition: current; Page: [[xxi]] music. Such, for example, are the song of the hidden priestesses in the temple scene, the melody of the ceremonial dance, the prefatory instrumental passage before “O patria mia” and others of similar character. These are mentioned because they are perhaps the most easily identified by the hearer. The principal numbers of the first scene of this admirable opera are the tenor air, “Celeste Aïda,” sung soon after the rising of the curtain, the stirring ensemble following the delivery of the message concerning the war, and Aïda’s beautiful air, “Ritorno vincitor.” In the second scene the chorus and dance of priestesses and the ensuing prayer, concluding with the clarion call “Immenso Phtha,” are the chief features.

The dance of the slaves in the first scene of the second act is usually enjoyed, while the duet between Aïda and Amneris is a strong example of the new dramatic style of writing introduced by Verdi in this work and imitated by many of the younger Italians. The broad mass effects of the finale of the second act are always the cause of much enthusiasm among opera-goers, but perhaps the skill Edition: current; Page: [[xxii]] of the musical development escapes many of them. The trumpets used by the marchers on the stage are not reproductions of the ancient Egyptian instruments, for these were much shorter and could probably emit only three tones of the common chord. But Verdi’s are not of the familiar kind and they serve to create an illusion.

The third act which takes place by the banks of the Nile is musically very rich. The solo of Aïda sometimes called “O cieli azzuri” and sometimes “O patria mia” is one of the most beautiful specimens of the true Italian aria to be found in all modern opera. The duet between Aïda and Amonasro is the next of the string of pearls in this scene, and this is followed by a still more captivating duet for Aïda and Rhadames. Then comes a vigorous trio, after which the act is brought to its end with the declamatory phrase with which Rhadames surrenders his sword to the Priest.

The last act has a good duet for Rhadames and Amneris and a characteristic solo for Amneris, while she listens to the trial going on in the subterranean chamber. The last important number is the duet, Edition: current; Page: [[xxiii]] “O terra addio,” for Aïda and Rhadames. This is one of the most effective parts of the opera and its style is just close enough to that of Verdi’s earlier works to enable us to discern wherein the novelty of “Aïda” consists.

No description of such a masterpiece, however, can give the music lover any conception of its real greatness. The hearer who listens to it for the first time will not fail to perceive the tremendous vigor of its musical basis, nor the splendor of the spectacular qualities of its graphic and intensely theatric style. But only repeated hearings will open up to the opera-goer the unerring skill with which the master disposed his lights and shades, the dramatic instinct with which he developed his musical inventions, the psychologic insight shown in the character of the melodies themselves and the craftsmanship revealed in the arrangement of their relations to one another.

From the first dialogue between Rhadames and the Priest to the last sigh of “O terra addio” there is no moment when the music fails to embody the emotions of the drama, nor is there any when it Edition: current; Page: [[xxiv]] does not succeed in enchaining the attention by its own intrinsic beauty. A true Italian, Verdi always allots the leading thoughts to the voices and his writing for the singers is entirely favorable to the display of their best powers. But he welds the voice parts and the orchestral portion into one consistent whole, which is without doubt one of the most symmetrical art works in the wide field of the lyric drama.

ACT ONE

Scene I

A hall in the King’s palace at Memphis. To the right and left a colonnade with statues and flowers in blossom.—At the back a high gateway through which may be seen the temples and palaces of Memphis and the Pyramids.

Rhadames and Ramphis

ramphis

Yes, the story goes that the Ethiopian once more ventures to threaten our power in the valley of the Nile as well as at Thebes. I shall soon learn the truth from a messenger.

rhadames

Hast thou consulted the mysteries of Isis?

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ramphis

She has declared who shall be commander of all the Egyptian hosts.

rhadames

Oh, happy man!

ramphis

(With a meaning look at Radames.)

Young is he in years, and fearless. I go to bear the goddess’ bidding to the King.

(Exit.)

rhadames

What if I am chosen! Be now my dream accomplished! I, the chosen leader of a mighty army! Mine, the victory! Mine the acclaim of all Memphis! To thee, returning, my sweet Aïda, crowned with laurel! To tell thee, that for thee I fought, for thee I conquered!

Radiant Aïda, beauty all glorious,

Mystical garland of brightness and bloom,

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Queen o’er my bosom reigning victorious,

All of my soul with thy light to illume!

Would that the skies of thy country now blessed thee,

That thou could’st breathe its soft fragrance divine.

Would that its diadem royal caressed thee,

And that a throne next the sun could be thine!

Scene II: Amneris and the Same

amneris

In thy face I see a joy unwonted! What noble fury glistens in thine eye! Ah me! How worthy of envy would be the woman whose loved presence could awaken such a glow of rapture in thy soul!

rhadames

A dream of wild ambition in my heart’s heart I cherished. To-day has the goddess told his name who shall lead the Egyptian host to battle,—what if I were chosen for this distinguished honour!

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amneris

Has not another dream, and one more gentle, more alluring, spoken to thy heart? Hast thou not in Memphis something more earnestly desired and hoped for?

rhadames

(Aside.)

I? fatal inquisition!

Has she the hidden yearning

Divined, within me burning,

And learned that toward her slave-girl

My every thought is turned?

amneris

(Aside.)

If toward another yearning

His heart for her is burning

Through my unguarded glances

The fatal truth he’s learned.

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Scene III: Aïda and the same

rhadames

(Catching sight of Aida.)

Aida!

amneris

(Aside.)

He is troubled—ne’er a lover

His devotion showed so clear!

Aida! should I discover

To my heart a rival here?

(After a short pause turning to Aida.)

Come, my darling, now draw nearer.

Nor slave nor menial be thy name

Who deserv’st a fashion dearer.

I in thee a sister claim.

Thou weepest? Of thy sorrow’s flow

Let me the secret know.

aïda

Alas! a war is raging,

The dreadful cry—I hear it

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For this unhappy country,

For me—for all I fear it.

amneris

Thou speak’st the truth? Nor art aware

Thy bosom feels a deeper care?

[Aida casts down her eyes and tries to hide her confusion.]

(Aside, looking steadily at Aïda.)

Tremble, O thou slave, yes, tremble

Lest thy secret be detected,

For the truth I have suspected,

How she wept and how she blushed!

aïda

(Aside.)

No! This sore-afflicted country

Not alone my heart is wringing;

Hopeless love the tear is bringing,

That upon destruction rushed!

rhadames

(Aside, looking at Amneris.)

Now her face is full of anger

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And with scorn her glances lower,

What if she exert her power,

And my heart’s desire be crushed!

Scene IV

The King enters, preceded by his Guards and followed by Ramphis, Ministers of State, Priests, Captains, etc., etc.—An officer of the Palace, and later, a Messenger.

the king

Mighty the cause that summons you, O faithful sons of Egypt, round your King. From the land of Ethiopia a messenger has this moment reached us, bringing news of gravest import. Be pleased to hear him.

(To an officer.)

Let the messenger come forward!

messenger

The sacred soil of Egypt is invaded by the barbarous Ethiop. Our fields are ravaged and the Edition: current; Page: [[17]] crops are burned. Emboldened by this easy victory, the plunderers are e’en now marching upon Thebes.

all

Outrageous insult!

messenger

A warrior indomitable, fierce, conducts them—Amonasro.

all

The King!

aïda

(Aside.)

My father!

messenger

All Thebes is up in arms and, from her hundred gates, will pour on the invader her answer of war and carnage.

the king

Yes, war and carnage be our cry henceforward.

all

War! War!

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the king

Terrible, unrelenting!

(Addressing Rhadames.)

Isis, most holy, has already appointed the supreme leader of all our dauntless hosts—Rhadames.

all

Rhadames!

rhadames

I thank you, O ye Gods! My dearest wish is won.

amneris

(Aside.)

The leader!

aïda

(Aside.)

I tremble!

the king

Now to Vulcan’s temple let us go, O warrior, there to gird thee with thy sacred armour and then to victory speed.

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Rise! the invading host defy,

Guard your sacred Nile, Egyptians;

Burst from each heart the battle cry,

Death and destruction to the stranger!

ramphis and the priests

Praise to the Gods, not one forgetting,

All of life they give its setting,

From their hands all changes letting;

Save us from this mortal danger.

chorus

Rise and on your strength rely,

Guard your sacred Nile, Egyptians,

And shout this one stern battle cry—

Death and destruction to the stranger!

rhadames

Glory’s sacred ravings claim me,

Thoughts of war alone inflame me;

Ne’er disaster come to shame me—

Death and destruction to the stranger!

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amneris

(Presenting a banner to Rhadames.)

From my hand, O leader brave,

Take this banner ever glorious,

May it still for victory wave,

Be thy foeman’s source of danger!

aïda

(Aside.)

For whom weeping? For whom praying?

In my love for him delaying,

Though my country I’m betraying

For an enemy—a stranger.

all

War! War! and root the invaders out,

For Rhadames, returned victorious, shout!

[Exeunt, except Aïda.]

aïda

Returned victorious! Can my lips pronounce the impious word! Victorious o’er my father, o’er him who leads an army for me—that I may be restored to a country, a kingdom, and an illustrious name Edition: current; Page: [[25]] that now I’m forced to hide! Victorious o’er my brothers! E’en now I see him stained with their dear blood, amid the roaring triumph of the Egyptian host! And behind his chariot a King—my father—bound with chains!

That word, soul-destroying,

O deem it unspoken;

Ye Gods, and my father,

His daughter heart-broken,

Restore, with a crushing

Defeat for our foemen!

O madness! What say I? And to my heart’s yearning,

Is there no turning?

What of the love that consoled me, oppressed,

Like a ray of the sun that has cheered me and blessed?

Shall I implore destruction

On Rhadames, for whose love I languish?

Ah! Never heart upon this earth

Was crushed by so great anguish.

The sacred names of father and of lover

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I dare not utter, dare not e’en recall,

Confused and trembling for the one, the other

My prayers shall rise and still my tears shall fall,

Alas my prayer in doubt and sin seems shrouded.

To suffer is a wrong for me, a sin to cry.

In gloomy shadows wrapt, my mind is clouded,

And of this two-fold anguish I must die.

Take pity on me, O ye Gods most high!

No shelter have I for my sorrow here—

O fatal love, yet love I hold so dear,

Break, break, my trembling heart and let me die!

Scene V

Interior of the temple of Vulcan at Memphis. A mysterious light shining from above. A long row of columns, one behind the other, vanishing in the distance.—Statues of various Divinities. In the middle of the stage, above a platform Edition: current; Page: [[29]] carpeted with rich stuffs, rises the altar surmounted by the sacred emblems.—Golden tripods on which incense is burning.

Priests and Priestesses.—Ramphis at the foot of the altar.—Later Rhadames.—From within is heard the singing of the Priestesses accompanied by a harp.

priestesses

(Within.)

Omnipotent Phtha! of creation,

Spirit life-giving, pure!

Thee, in our prayer, we invoke!

Phtha, who pervadest the whole of creation,

Spirit of fruitfulness,

Thee, in our prayer, we invoke!

Flame uncreated, eternal,

Sovereign dispenser of light,

Thee, in our prayer, we invoke!

priests

Thou, who all things hast created,

The water, the earth, and the sky,

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Thee, in our prayer, we invoke!

Thou, who of thine own nature,

Art son as well as father,

Thee, in our prayer, we invoke!

Life of all things created,

Giver of love everlasting,

Thee, in our prayer, we invoke!

[Rhadames enters without his armor.—As he advances to the altar the priestesses (corps de ballet) perform their sacred dance.—There is placed on Rhadames’ head a silver veil.]

ramphis

Mortal, beloved of the gods, to thee is confided the destiny of Egypt. The sacred sword, divinely tempered, is placed in thy hands, to bring upon the enemy terror and ruin and death.

(Turning to the god.)

O God, protector, avenger

Of all we hold most dear,

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Thy mighty hand extending,

Save the Egyptian soil.

rhadames

O God, thou judge of battles,

The path of war make clear,

Protecting and defending,

Egypt’s most sacred soil!

[During the investiture of Rhadames with the sacred armor, the Priests and Priestesses resume the devotional hymn and the mystic dance.]

end of the first act

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ACT II

Scene I

A hall in the apartments of Amneris.—Amneris surrounded by slave-girls, who are adorning her for the triumphal feast.—From the tripods perfumed incense is rising.—Moorish slave-boys dance and wave feather-fans.

slaves

Ever his name and his praises

We’ll raise to the glory on high,

That like a divinity blazes,

Outshining the sun in the sky,

Come, bind in thy glorious tresses,

The laurels of victory sweet,

Whom triumph and power caresses,

And Love lays his song at thy feet.

amneris

(Aside.)

(Come, my love, my one desire,

Fill my heart with rapture sweet.)

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slaves

Oh! the stranger’s host is shattered,

That had ventured Egypt’s might,

As doves are by the eagle scattered,

Were they driven in the fight.

Now, a crown of triumph presses

On his brow—for that is meet—

Him whom victory caresses

Shall caress devotion sweet.

amneris

(Aside.)

(Come, my loved one, and revive me

With thy accents dear once more!)

Silence! Aïda is coming toward me—a daughter of the conquered race, to me her grief is sacred.

[At a sign from Amneris all the slaves retire.]

Seeing her again, the dreadful doubt awakens in my heart! At last I’ll wrest her fatal secret from her!

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Scene II: Amneris and Aïda

amneris

(To Aïda, with pretended affection.)

The chances of battle have proved disastrous to thee, my poor Aïda! Be sure that I divide with thee the sorrow that weighs down thy heart. I am thy friend—ask what thou wilt of me, I would make thee happy!

aïda

How can I be happy, far from my native land and ignorant of the fate of my father and brothers!

amneris

I feel with thee deeply; and yet there is a limit to all sorrow here below. Time will cure the anguish of thy heart. And there is a powerful God, greater than time—Love.

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aïda

(Aside, deeply moved.)

O Love! Love! a joy tormenting,

Exquisite madness, cruel delight,

By thy affliction, a life-time contenting,

And in thy smile a radiance bright.

amneris

(Aside, looking intently at Aïda.)

Ah! She is troubled, her countenance paling,

This is the secret, the fever of love.

How shall I question—my courage is failing—

Still has her anguish the power to move.

(Gazing at her more intently.)

Nay, but tell me, do not tremble,

What my sweet Aïda fears.

Nor thy secret thoughts dissemble,

Confidence a friend endears;

Of the many warriors bold

’Gainst thy country’s peace enrolled,

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One perhaps his love has told,

Nor received an answer cold?

aïda

What meanest thou?

amneris

The cruel fate of war

Not all alike embraces,

Sometimes the dauntless warrior,

The leader, it effaces.

aïda

Wretch, to say so!

amneris

Yes, Rhadames by thy tribe is slaughtered—And thou mourn’st him?

aïda

Forever I shall mourn!

amneris

The gods have avenged thee.

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aïda

Forever hostile to me have been the gods—

amneris

(Bursting forth with rage.)

Ah! Tremble! In thy heart of hearts thou lovest him—

aïda

Yes!

amneris

Away with seeming! A little word and I shall know the truth. Look on my face—I told thee falsely—Rhadames lives.

Scene III

Entrance gate to the city of Thebes.—In front a cluster of palms.—To the right a temple of Ammon; to the left a throne with a purple canopy above; at the back a triumphal arch.—The stage is crowded with people.

Enter the King, followed by Ministers, Priests, Captains, Fan-bearers, Standard-bearers, etc., etc.—After them, Amneris with Aida and Slaves.—The King takes his seat upon the throne.—Amneris places herself on the King’s left.

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chorus

Glory to Egypt and to Isis,

Who our sacred land enfoldeth!

And to him the throne who holdeth

Now our festive song we sing!

Hither come, O warriors glorious,

Mingle, now, your joy with ours,

Wreaths of laurel and of flowers

For their royal progress bring!

women

Laurel leaves with lotus woven

Shall the conquering brows entwine,

While a cloud of flowers combine

Warlike arms to hide from sight;

Circle round, Egyptian dancers,

And your mystic carol sing,

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As the stars, a heavenly ring,

Circle round their sovereign bright.

priests

Now we lift our humble glances

To the gods above, most glorious,

Who have made our arms victorious,

Sing their praise this festive day.

For through them our foes were scattered,

And our honor cleared from blame.

Never let us feel the shame

Of the hated stranger’s sway!

[The Egyptian troops announced by the blaring of trumpets, march before the King. They are followed by war-chariots, banners, the sacred vessels and statues of the gods. A band of dancing girls bearing the captured spoils. At the end, Rhadames enters under a canopy borne by twelve officers.]

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king

(Descends from the throne to embrace Rhadames.)

Saviour of thy country, I salute thee. Come, and my daughter, with her own hand, shall give thee the crown of triumph.

[Rhadames bows before Amneris, who gives him the crown.]

king

(To Rhadames.)

Ask what thou wilt and freely will I grant it. Naught shall be denied thee on such a day as this. I swear it by my crown and by the holy gods.

rhadames

First deign to order that the captives be brought before thee.

[Enter the Ethiopian captives surrounded by a guard. Amonasro last, in the dress of simple officer.]

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aïda

(Aside.)

Whom see I! Is he here? My father?

all

Her father!

amneris

And in our power!

aïda

(Embracing her father.)

Thou! A prisoner!

amonasro

(Aside to Aïda.)

Betray me not!

king

(To Amonasro.)

Approach thou—so then—thou art—?

amonasro

Her father—in my country’s cause, I fought.

Nor, conquered, could I find the death I sought.

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(Pointing to his uniform.)

This you have learned from the dress I am wearing,

I have my King and my country defended.

Vain, ’gainst our fate were all courage and daring,

We were unable its might to defy.

Then I perceived ’mid the carnage extended,

The form of the King—it was covered with gore.

Now if to fight for the land we adore,

Be worthy of death, we are ready to die!

(Turning to the King, as a suppliant.)

But thou, O King, in thy power transcendent,

Spare thou the lives on thy mercy dependent,

We, by the fates are to-day overtaken,

What in the fates of to-morrow may lie?

AÏDA, CAPTAINS AND SLAVES

Yes, though the anger of Heaven seems chiding,

Show us thy pity, thy mercy abiding,

Ah! May ye never, by fortune forsaken,

In the despair of captivity sigh!

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RAMPHIS AND PRIESTS

Death is, O King, their just destination,

Close, then, thy heart to all vain supplication.

Since they are doomed by high Heaven to perish,

Heaven’s decree we ought not to delay.

people

Calm, holy priests, your anger exceeding,

Graciously list to the desolate, pleading,

And thou, O King, whose dominion we cherish,

The mandates of mercy haste to obey.

rhadames

(Aside, looking at Aïda.)

Wan is her cheek with weeping and sorrow,

Yet from affliction beauty doth borrow.

Now in my bosom love’s flame is new lighted,

By every drop that flows from her eyes.

amneris

(Aside.)

Ah! With the passionate zeal of a lover,

Round her his glances linger and hover,

She hath been chosen: in my bosom slighted,

Furious promptings of envy arise.

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king

Now since our banners in triumph are waving,

Mercy to show, the unfortunate saving,

This to the Heavens above us is pleasant,

Adding new strength to a powerful sway.

rhadames

(To the King.)

O King, by the holy gods and by the splendor of thy crown, thou didst swear to give me whatever I might ask.

king

I swore it.

rhadames

Even so: I pray that thou grant life and liberty to these Ethiopian captives.

amneris

(Aside.)

All of them!

priests

Death to Egypt’s enemies!

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people

Mercy for the wretched!

ramphis

Hear me, O King;

(To Rhadames.)

And thou, too, youthful hero, the voice of prudence hear:

Thy foes to battle hardened,

Are yet thy foes at heart,

Will bolder grow, if pardoned,

And soon from peace depart.

rhadames

With Amonasro, their warrior king slain, all hope of vengeance is lost.

ramphis

At least, we should detain Aïda’s father, as a hostage to peace and safety. Set all the others free.

king

I yield to thy advice. Yet now a surer bond of peace and safety will I give you. Rhadames, thy Edition: current; Page: [[67]] country owes thee all. The hand of Amneris, my daughter, shall be thy reward. Sovereign of Egypt shalt thou reign with her hereafter.

amneris

(Aside.)

Now, now, let the slave-girl rob me of my love—she dare not!

king

Egypt praise, and Isis fair,

Our sacred land is in her care;

Laurel now with lotus twine

For the mighty victor’s brow.

priests

Raise your hymns to Isis fair,

Our sacred land is in her care.

May she, with her favor blest,

Our country still endow.

aïda

(Aside.)

Alas! to me what hope remains?

He glory and a throne attains,

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But only loneliness and tears

Shall be my portion now.

captives

Praise to Egypt’s gracious land,

Who pity on a captive band

Hath ta’en, and granted liberty

Once more our soil to tread.

rhadames

(Aside.)

Now Heaven’s bolt upon my head

Hath fallen! All my hopes are dead.

Nought to me were Egypt’s treasure

Could I Aïda’s love avow.

amneris

(Aside.)

Almost bereft of every sense

By joy unspeakable, immense,

’Tis triumph’s wondrous recompense!

Now my love I can avow.

amonasro

(To Aïda.)

Take heart: we may amend the fate

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Of our country desolate.

Presently this haughty state

Shall before our vengeance bow.

people

Egypt praise, and Isis fair,

Our sacred land is in her care.

Laurel now with lotus twine

For the mighty victor’s brow!

end of second act

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ACT III

Scene I

The banks of the Nile—Granite hills covered with palm trees.—On the summit a temple of Isis, half hidden by the foliage.—Night full of stars and the splendor of the moon.

chorus

(Within the temple.)

O thou, who art of Osiris

Mother immortal and wife,

Goddess, who all chaste desires

Hath placed in the heart by thy might,

Bend o’er us in pity exceeding,

Mother of love and of light.

[From a boat which approaches the bank, descend Amneris and Ramphis, followed by women closely veiled, and guards.]

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ramphis

(To Amneris.)

Come to the temple of Isis, on the eve before thy marriage, and pray for the goddess’s favor. To Isis are all hearts open. To her thy inmost thoughts are known.

amneris

Yes, and I will pray that Rhadames may give me all his heart, as my heart to him has e’er been wholly given.

O race accursed, abhorred and fatal to us! And I am in her power! I, Amonasro’s daughter!

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amonasro

In her power! No! If thou wishest, thou shalt conquer thy powerful rival; and country and throne and love, all shall be thine. Thou shalt see again our balmy forests, our verdant vales, our temples built of gold!

aïda

I shall see again our balmy forests, our verdant vales, our temples built of gold!

Scene V

(Enter Amneris from the temple, then Ramphis, priests, guards, as above.)

amneris

Traitor!

aïda

My rival!

amonasro

(Rushing toward Amneris with a dagger.)

Thou comest to mar my plans! Die, then!

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rhadames

(Interposing.)

Nay, strike not, madman!

amonasro

O fury!

ramphis

Guards, advance there!

rhadames

(To Aïda and Amonasro.)

This instant! Fly!

amonasro

(Dragging Aida away.)

Come thou, my daughter!

rhadames

(To the guards.)

Quickly! Follow them!

rhadames

(To Ramphis.)

Holy priest, to thee I yield.

end of the third act

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ACT IV

Scene I

A hall in the King’s palace.—On the left, a great gate leading to a subterranean hall of justice.—A passage on the right leading to Rhadames’ prison.—Amneris, crouching sorrowfully before the great gate.

amneris

My hated rival has escaped me, and from the priests Rhadames is awaiting a traitor’s doom. Yet traitor he is none. Though he disclosed a weighty secret of war—he meant to fly—to fly with her. Traitors are they all! To death! To death! Oh, what have I said? I love him, I love him still. Yes, desperate, mad is this love that is eating out my heart. Oh, if he could only love me! Fain would I save him! But how? I’ll try it! Guards, Rhadames bring hither.

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Scene II

rhadames

(Led in by guards.)

amneris

Already do the priests assemble,

Upon their sentence only hangs thy fate.

Though for the dreadful charge I tremble,

Thou can’st, perhaps, that charge abate.

Once I am free, to gain thy pardon

At my father’s feet I’ll humbly kneel,

To his mercy sure appeal,

And life I’ll gain for thee.

rhadames

Ne’er shall a syllable be spoken

By my lips my name to clear,

Yet Heaven’s law I have not broken,

Nor its judgment do I fear.

The fatal secret I imparted,

All heedlessly, but ever pure

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Have been my thoughts; I could endure

No stain upon my soul to be.

amneris

Then save thy life, thy honour free.

rhadames

No!

amneris

Thou would’st die?

rhadames

Life I abhor; the spring of all its joy is dry,

All hope is dead. ’Twere better far to die.

amneris

To die! Ah, me! consent to live.

Yes, of all my love assured;

The keenest anguish death can give

For thee I have endured.

I love thee, and for thee I’m dying,

All the night in torture lying,

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My country, throne, and life itself,

I’d give them all for thee.

rhadames

For her, I have staked my country and my honour!

amneris

No more of her!

rhadames

Dishonour

Awaits me, and yet thou bidst me live?

Wretched hast thou made life ever,

From Aïda tried to sever,

It may be thou hast slain her—and in fee—

Thou offerest life to me?

amneris

I, the cause of her death! No, Aïda lives.

rhadames

She lives!

amneris

They were beaten and fled in wild confusion. Her father perished.

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rhadames

And she?

amneris

Has disappeared, nor do we

Aught further know.

rhadames

Oh, may the gods protect her

And guide her safe returning,

Shield her heart from ever learning,

For her my life I spurn!

amneris

But, if I save thee, wilt thou swear

Her image to resign?

rhadames

I cannot!

amneris

Renounce her forever—

And life shall be thine!

rhadames

I cannot.

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amneris

But one word more;

Wilt thou renounce her?

rhadames

Never!

amneris

Life’s thread thou wouldst sever?

rhadames

Ready for death am I.

amneris

Who will save thee, wretched being,

From thy overmastering fate?

Now from all compunction freeing,

Thou hast changed my love to hate.

May Heaven all my anguish seeing,

This cruel blow abate!

rhadames

A good supreme it is to perish,

Since my life for her is given.

When the bands of life are riven,

With delight my heart will glow.

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Human wrath no more I cherish,

Only pity do I know.

[Rhadames is led out surrounded by the guards.]

amneris

(Falling disconsolate upon a seat.)

Ah, me! I feel death approaching. Oh, who will save him? Now he is in their power and I have sealed his fate! Oh, how I curse thee, outrageous jealousy, that hast doomed him to death and me to endless sorrow!

[She turns and sees the priests, who cross the stage to enter the subterranean chamber.]

What do I see? There come the fatal, inexorable ministers of death—let me not look upon those white-robed spectres!

[She covers her face with her hands.]

priests

(From the lower hall.)

Heavenly spirit upon us descending,

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Kindle the ray everlasting of light;

To our decision thy righteousness lending.

amneris

Gods, show me pity, my bosom relieving—

He is all innocent, save him, ye gods!

Now is my heart overwhelmed with its grieving!

[Rhadames is led by the guards across the stage and descends to the chamber below.—Amneris, on seeing him descend, utters a cry.]

ramphis

(From below.)

Rhadames, Rhadames: thou hast betrayed the secrets of thy country to the enemy.

priests

Defend thyself!

ramphis

He is silent.

all

Traitor!

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ramphis

Rhadames, Rhadames: thou wast absent from the camp the day before the battle!

priests

Defend thyself!

ramphis

He is silent.

all

Traitor!

ramphis

Rhadames, Rhadames: thou hast been false to country, king and honour.

priests

Defend thyself!

ramphis

He is silent.

all

Traitor!

Rhadames, thus have thy judges decided,

Thou the cursed death of the traitor must die,

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’Neath the high altar whose god thou’st derided,

Thou in thy sepulchre, living, must lie.

amneris

A sepulchre, living! O wretches accursèd!

Naught of compassion or pity you know!

Yet on the mercy of Heaven you’re nursèd!

[Assailing the priests who reenter from the chamber of justice.]

Priests, of a hideous crime you are guilty,

Tigers accursèd, in bloodshed exulting,

You are the earth and the Heavens insulting,

For on the guiltless your judgment will fall.

priests

He is a traitor. Let him die!

amneris

(To Ramphis.)

Priest, on this man whom thou hast found guilty,

Poured I my love—to thee I had spoken—

Take thou the curse of a heart that is broken,

On thine own head may the penalty fall.

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priests

He is a traitor. Let him die!

[They depart slowly.]

Impious priesthood, cursed are you all!

May the justice of Heaven hasten your fall!

[Exit wildly.]

Scene III

The stage is divided into two floors.—The upper floor represents the temple of Vulcan resplendent with gold and light; the lower floor is a vault.—Long arcades vanishing in the gloom.—Colossal statues of Osiris, with crossed hands, support the pillars of the vault.

Rhadames is discovered at the foot of the steps by which he has descended into the vault.—Above two priests are letting down the stone that closes it.

rhadames

The fatal stone has now descended

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Upon my tomb. No more the light

Shall I behold—no more behold Aïda—

Aïda, where art thou? Mayest thou ever

Happily live, my wretched fate never

Hearing! Ah, what groan was that? A phantom!

A vision! No, the form is human—

Heavens! Aïda!

aïda

Yes, I—

rhadames

Thou—in this tomb!

aïda

My heart presaged thy condemnation.

And to thy tomb’s dread portal,

I crept, unseen by mortal.

And here, afar from every human eye,

In thy dear arms, I’ll die.

rhadames

To die! So pure and lovely!

And through the yearning of thy heart

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In the flower of youth to part

With life full-sated.

Thou whom for love the Heavens created,

And to destroy thee I was fated!

No, thou shalt not die.

Thou treasure, too high!

Thou art too lovely!

aïda

(In ecstasy.)

Seest thou where Death’s bright angel

With heavenly radiance shining,

Would bring us to eternal joys,

On golden wings, above

Now heaven’s gates are opening wide,

There we’ll cease from all repining,

There only joy and peace abide,

And an immortal love.

[Singing and dancing of the priestesses in the temple above.]

aïda

That sad chanting!

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rhadames

’Tis the sacred dance of the priesthood.

aïda

And our death chant sounding!

rhadames

(Trying to push back the stone over the vault.)

Ah, could my utmost pains

Remove this fatal stone!

aïda

In vain, for all is over,

No hope on earth remains.

rhadames

(With sad resignation.)

Ah, truly, truly!

(Approaches Aïda and supports her.)

AÏDA AND RHADAMES

O earth, farewell, farewell, thou vale of sorrow!

Dream of delight that vanisheth in woe,

Opens the sky on a glorious to-morrow

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That in its brightness eternal shall glow.

[Aïda falls gently from Rhadames’ arms.—Amneris appears dressed in mourning in the temple, and throws herself on the stone that closes the vault.]